Every time an artwork is acquired the whole collection’s dynamic changes. In fact, the whole reacts to the parts, as each time a new acquisition is made, the entire collection expands with new possibilities of existence. This is an intrinsic quality of a collection: in order for it to be alive, it needs to always be activated and reconsidered; it is always in t he stage of ‘ becoming’.

Study is not an attempt to capture or seize but a methodology of encounter and the insistence on the provisional as both form and content within the process of research. It is an exercise in responding to the infinite demands of the work, not meant to bring forth any historical truth but rather to enter into dialogue with the work.

V: Not necessarily young, because I don’t base my research on generations. For instance, we recently worked with Bruce McLean, a historical artist here in the UK, and we work also with emerging artists, as talent doesn’t have any age. It doesn’t make sense to me actually. Having said so, when you come to the openings, when you come to our performances you realize our audiences are relatively young, the visitors come to participate with us, they co-produce a culture.